At Violet Crown Cinema, it is our goal to showcase the best art cinema from around the world. Out of respect for the films and our audience and in order to ensure a pleasurable, uninterrupted viewing experience, we will admit people into the theater up to 10 minutes after the films scheduled start time. Should you happen to arrive after the film has started, we would be happy to swap your tickets to another film or showtime, give you passes to come back another time or provide a refund for your ticket purchase.
Somebody once told me that the first frame of a film is the most important one. It is the image that sets the stage for all of the images to follow. Especially with art cinema such as MELANCHOLIA and TAKE SHELTER, the opening of a film has a huge amount of power, and is essential to fully appreciating it. One of the best introductions to a film I can remember was the opening of Paul Thomas Anderson’s masterpiece, THERE WILL BE BLOOD (2007) which had almost no dialogue, but instantly immersed me in the intensity of the world of oil. It vividly depicted the dirt, danger, and excitement that created a wave of emotions that would play out more fully over the course of the film. If you remove the opening, THERE WILL BE BLOOD does not mean the same thing and becomes a different film entirely.
We are very excited about this new policy and the positive impact it will have on our guests. Arriving at the cinema early makes it easier to get your food on time, allows you to find your seat comfortably, minimizes the possibility of distracting your fellow patrons, and to enjoy your film the way it was intended to be seen.
YOUNG ADULT is the first time director, Jason Reitman, and screenwriter, Diablo Cody, have worked together since the pair delivered the delightful comedy, JUNO, in 2007. However, this time, the characters are much older, less “quirky”, darker, but still childish. Charlize Theron plays Mavis, the popular, pretty, annoyingly mean girl that you knew in High School. But instead of maturing upon moving to the big city, Mavis used the initial success of the Young Adult series of books she wrote as an excuse to hold on to her illusions of superiority, which does not go away when the series fails and her old flame settles down with somebody else. Desperate, she goes back to her hometown expecting to win back everything she left behind.
In the context of the careers of Jason Reitman, Diablo Cody, YOUNG ADULT is fascinating and daring in addition to being a fantastic example of their craft. There is a moment in the film when Mavis refers to a combination KFC-Taco Bell-Pizza Hut as a “Kentacohut” and her well-meaning old friend replies, “You sound like a character in one of your books!” Knowing the distinctive lingo and massive popularity of her scripts, it would be easy to conclude that Diablo Cody herself has received that comment on numerous occasions when visiting her small hometown. That adds a great deal of depth to the film, especially considering the fact that the character of Mavis is a tour-de-force of unlikability. Comedian Patton Oswalt gives a fantastic performance as Matt, a man who also was never quite able to get over High School, but for very different reasons. He shades in the holes of Mavis’ character and sheds light on the more humanizing details.
People who are fans of JUNO might expect a straight forward comedy, but this is a step in a different direction. At the same time, it is not strictly dramatic. Its strength is that everyone involved is putting everything on the table. YOUNG ADULT fearlessly explores the uglier side of people while telling a complex and engaging story.